COLOR WHEEL ANIMATION. COLOR WHEEL

Color Wheel Animation

A circle with different colored sectors used to show the relationship between colors

color circle: a chart in which complementary colors (or their names) are arranged on opposite sides of a circle

Colors arranged in a certain order in the shape of a circle.

A color wheel or color circle is either: * An abstract illustrative organization of color hues around a circle, that show relationships between primary colors, secondary colors, complementary colors, etc.

Mike Judge and Don Hertzfeldt have returned with another collection of incredible animated short films! This program brings together the best work from The Animation Show’s 2007 theatrical program and additional groundbreaking shorts, 17 in all. See the latest work from leading independent animators - Don Hertzfeldt, Mike Judge, Bill Plympton, Joanna Quinn and Pes! There’s an enormous array of great animation that’s rarely seen in the United States. We hope this formative new DVD series will continue to bring more artists and unseen classics into the spotlight for many years to come…

For those who missed Mike Judge and Doug Hertzfeldt's semi-annual Animation Show when it visited their local theater, here's another collection of the best and most imaginative animated shorts culled from the screenings. As with previous volumes, there's a wide variety of animation styles on display in Volume 3, from CGI ("No Room For Gerold," about quarreling animal roommates) and 2-D ("Tyger," based on a poem by William Blake, and featuring puppet work with animation) to live action/animation blends ("Carlitopolis") and one-dimensional work (Hertzfeldt's affecting "Everything Will Be Okay," about its line drawing protagonist's struggles with mental illness). Subject matter is equally diverse, from the wryly comic "Astronauts" and Bill Plympton's "Guide Dog" (a sequel to his "Guard Dog") to the atmospheric "Tyger" and the noir-influenced "Shuteye Hotel." Judge himself contributes an intro courtesy his malcontent alter egos of Beavis and Butthead; the package includes cnversations with several of the filmmakers about their shorts, as well as text interviews with all 11 filmmakers, which can be viewed in PDF format through the viewer's DVD-ROM. Trailers and previews for other MTV programs and previous volumes of The Animation Show round out the extras. -- Paul Gaita

The body isn’t cold: the knife in its chest is cold. Its ungrieving widow flanked by reporters, police, and coroners make a bizarre wake. The victim is virtually forgotten, and he’s mad.

Is there a critical temperature that sparks murder? Are there two actuaries who know?

A strange carnival with a black ferris wheel is in town that eats years or returns them with each rotation of this wheel. Is it a time machine or a killing machine?

There stories. Three blurbs. Have they piqued your curiosity? If not, you’ll miss one of the best comic books of this or any year. Good Lord, here’s a comic that adults will love!!

”Ray Bradbury Comics” features adaptations of classic short stories from a master storyteller. No one touches Bradbury. He’s better at SF than Heinlein, better at Horror than Stephen King, and the best at Fantasy outside of J. R. R. Tolkein. These adaptations live up to his standards.

Bradbury’s strength is in finding bizarre twists in ordinary events, in believable characters, eerie atmosphere, and almost a poetic rhythm to his words.

The art in each tale is divergent, stylistic, and dramatic. “It Burns Me Up” is cartoonish, abstract, and downright chilling. “Touched by Fire” is reality exaggerated, capturing a sense of “this could happen here”! And “The Black Ferris” is cartoonish, dark, real, and just plain weird. Each tale’s coloring is perfect.

This title puts to rest a bogus debate among both comic fans and professionals: is art more important than words in this medium? When they work well together, comic books and strips are powerful. When either is weak, the work suffers. In ”Ray Bradbury Comics”, the wedding of word and art is almost perfect.

There's a little motel on US-1, in Holly Hill, just north of Daytona, that does some of the most phenomenal lighting displays around. I had no idea, even though I worked next door for years, since from the street, you wouldn't know just how extensive it is.

This year, my former boss, who is a friend, walked over with me to show me the lights. It was amazing! From Spongebob, to a nativity, to homemade light orbs constructed out of plastic drinking glasses, to a moving ferris wheel, to these lovely angels, it's truly awesome. The driveway is opened up to people for drive throughs, but on foot you can see more, as you can walk through a passageway between the small cottages, and onto the next street, where the neighbors have also given in to the decorating spirit of Christmas, and have lit their trees, and even suspended ornaments which hang in mid air, like balloons, and parachutes! It's definitely one of the Daytona Beach area's best spots for Christmas lights!

Below are some of the cool sights! I have to apologize for the quality. My cameras aren't too great at night. I think you can get an idea of how beautiful the displays were, though. The pics can't do it justice, since there was SO much going on all over the place- on rooves, in the air, moving, blinking, animation...a feast for the eyes!

color wheel animation

The definitive book on animation, from the Academy Award-winning animator behind Who Framed Roger Rabbit?

Animation is one of the hottest areas of filmmaking today--and the master animator who bridges the old generation and the new is Richard Williams. During his fifty years in the business, Williams has been one of the true innovators, winning three Academy Awards and serving as the link between Disney's golden age of animation by hand and the new computer animation exemplified by Toy Story.

Perhaps even more important, though, has been his dedication in passing along his knowledge to a new generation of animators so that they in turn could push the medium in new directions. In this book, based on his sold-out master classes in the United States and across Europe, Williams provides the underlying principles of animation that every animator--from beginner to expert, classic animator to computer animation whiz --needs. Urging his readers to "invent but be believable," he illustrates his points with hundreds of drawings, distilling the secrets of the masters into a working system in order to create a book that will become the standard work on all forms of animation for professionals, students, and fans.